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OFFICIAL ASHDOWN CLUB

#1,583
Old Blastard said:
Anyone have experience with this

RMCAB115T EVO II Bass Cabinet​

Sweetwater has been selling them fairly cheap but the reviews are few and mixed and people I've talked to say the same thing, like or hate.
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It is definitely a low to low mid heavy voiced speaker. It's great if you like the vintage style voicing when used solo. If you want to fill out the low end with another cab (such as the RM-210T ), it works great for this too. The pair of cabs is full and punchy. Very much a low to low mid pairing, while maintaining a modern punchy sound.

Being their sealed line of cabs, the sound is tighter, more articulate. If you're after the big, powerful lows, then the ABM might be the better choice.

There has been reports that they are flubby and fart out easily. I find the only time I get that, is when I push the lows too far.

I use the pair with both my CTM-30 and my MAG300, both of which sound fantastic for most all styles. I like using just the 115 with the CTM for very vintage and/or warm voicings. The tighter sounds of the RM series cabs suits the MAG's looser sounds very well. I feel the RMs fit the CTM's analog valve characteristics better too.

For everything I've read and seen from the various series of Ashdown speaker cabs, the MAG series was originally their budget line of cabs. Made from MDF instead of Plywood. Carpet covered instead of Tolex. Metal grills and plastic corner protectors. Made in China, where as, at the time, Made in England. Later MAGs were covered with vinyl and got opaque grill cloth and metal corner protectors. Then they came out with the Root Master MAG series, where they started making the cabs of plywood, using sealed designs, black metal corner protectors and a black translucent speaker grill cloth. When they came out with the RM EVO II cabs is what we have here, white line speakers and adjusted the size and designs of the cabs. I haven't had too much experience with the EVO III cabs, but they are using the silver grill cloth as on the Studio line and supposedly some minor refinements to the speaker and the cabinets, though the specs and dimensions remained the same.

P1030832.JPG
I only run one head or the other with the stack, usually with just the CTM-300 on top. If I want loud, then I'll hook up the MAG300. (The cabs are cinch strapped to a Harbor Freight a small furniture dolly for stability when moving it around.)


I got mine used, but in "Good" condition EXCEPT (as GC didn't state) the cone had separated from the surround about 3/4 way around. I was able to get some speaker glue (which GC reimbursed me for) and repaired the speaker, which has been working flawlessly ever since.
 
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#1,584
glassmoon said:
The Retroglide was designed for Mark King - similar to his red Trace Eliot head from back in the day. So it's very mid focused.
I spoke for an hour on the phone to Dave Green at Ashdown, and he explained that what I wanted from the head was possible, but with a lot of tweaking - he even offered for me to pop in to the "offices" and he would tweak with me... that is why I love that company - you just don't get service like that from just anyone.

I ideally would want a Rootmaster - which is more the warmer tone... an ABM would be perfect, but my back doesn't think so hahahahaha
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I've always gotten great service from them as well when I have called in or emailed. Even though I'm in the United States, they have reached out multiple times as well as helped me through some issues with a couple local dealers I had. Good people who really do love their products
 
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#1,585
My used AMB 500 evo iii arrived today. I haven't got to give it a good playing yet but so far I'm impressed. Even flat it just sounds big and full.

One question: I maxed the input and valve drive and did not get the distortion I kept seeing in demos online. Not that I want true distortion, but was curious as to why there was not more breakup than I was getting. Using passive Pbasses and Jbasses I was not able to get the VU meter into the red either. That didn't seem normal like on my little RM 300 EVO. (I was not using the active mode so that wasn't it and there was a reduction when that was engaged. EQ was largely flat.) I just asked the seller about it and if different tube was installed that didn't breakup easily but haven't heard back yet.

EDIT: He just replied and said that the original tube was very cheap and said "China 12ax7." It was very cold and harsh. He didn't use much distortion but wanted a little warm dirt sometimes so he replaced the tube with a David Eden 7025, so that may explain it.

1720835861243.png
 
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#1,586
Morning update: OK, I got to do a little more serious playing and found the compressor was kind of choking the tube break up. Breakup is still there with the comp lightly on, but once turned off it is capable of more overdrive than I would ever want. Dailed back to about noon with no comp on it sounded just right with the bass I was using. I can get the VU needle to get in/to the red, but that is playing harder than I normally play. So all seems well. :thumbsup:
 
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#1,587
dagrev said:
My used AMB 500 evo iii arrived today. I haven't got to give it a good playing yet but so far I'm impressed. Even flat it just sounds big and full.

One question: I maxed the input and valve drive and did not get the distortion I kept seeing in demos online. Not that I want true distortion, but was curious as to why there was not more breakup than I was getting. Using passive Pbasses and Jbasses I was not able to get the VU meter into the red either. That didn't seem normal like on my little RM 300 EVO. (I was not using the active mode so that wasn't it and there was a reduction when that was engaged. EQ was largely flat.) I just asked the seller about it and if different tube was installed that didn't breakup easily but haven't heard back yet.

EDIT: He just replied and said that the original tube was very cheap and said "China 12ax7." It was very cold and harsh. He didn't use much distortion but wanted a little warm dirt sometimes so he replaced the tube with a David Eden 7025, so that may explain it.

View attachment 6979425
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Yep sounds like my experience (extremely limited) with using a lower gain tube. If you boost the EQ a bit you'll get much more distortion. It also, IMO, really changes the breakup from a fizzy to a more warm power tube distortion when you're boosting the EQ into the tube drive circuit.

That's way odd though that you couldn't get the VU into the red. The EQ I believe is pre input gain, so at least for me, I red line at like 9 o'clock. I have all of the EQ boosted to some degree, many of them past the 80% or 3 o'clock point.

I could be way wrong, but my understanding of the tu e drive circuit is that it was intended to bring extra harmonics into the signal for more of a tube amp vibe. Since the EQ levels impact the input gain and the signal going into it, I feel that's why some may think the tube drive is so fizzy...they're feeding it too scooped of a signal, therefore the amount of harmonics added to highs and undesirable frequencies, leading to fizzy-ness.

Tldr: All the tube will do is amplify harmonics, if you feed it freqs that when the harmonics of said freqs are boosted are harsh, then of course it will sound rough.
 
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#1,588
dagrev said:
Morning update: OK, I got to do a little more serious playing and found the compressor was kind of choking the tube break up. Breakup is still there with the comp lightly on, but once turned off it is capable of more overdrive than I would ever want. Dailed back to about noon with no comp on it sounded just right with the bass I was using. I can get the VU needle to get in/to the red, but that is playing harder than I normally play. So all seems well. :thumbsup:
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Ahh yep, makes sense for the comp. I personally never use it. Not bad, just it does choke back the overall input gain so much.
 
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#1,589
Novarocker said:
Ahh yep, makes sense for the comp. I personally never use it. Not bad, just it does choke back the overall input gain so much.
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Thanks very much much for the good info! It's odd that the comp doesn't choke the overdrive on my RM 300 EVO (class D). But that's a completely different head, so differences are to be expected. I actually think I like the comp on the little RM 300 better. Time and actual use may change that.

I don't care for distortion, but do have a Genzler Four On The Floor and found I do like a touch of breakup. It does a nice job and doesn't sound fake. So for some breakup I have a couple options to play with now. I've been using that with my old Ampeg Classic V-4BH (think 100 SVTish). That's my main head but have a couple basses that sounded hallow and found the little RM 300 was more full sounding. Thus the ABM. I'm not sure the ABM will replace my Ampegs, but I'm open minded. Having two heads available will be nice for different flavors when desired.

I was running the EQ flat except slight bass boost (and no "shape"). I'll use it live tomorrow and no doubt have to do some EQing. Not that I will have much time for that. I'll also be able to better see how well the comp works live.
 
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#1,596
I spent quite a bit of time trying out my new Ashdown practice amp. My Studio 8 was my most used practice amp, but even with the speaker upgrade, tuned port and lined cab, it struggled getting sufficient bass response and volume. It was much improved over stock, which was not bad at all, but it was an 8" 30 watt amp. It could only do so much. It was doing what was intended, but I wanted MOAR! 😜
Studio 8.JPG
I've been GASin' for the Studio 10 or bigger for a while. Sweetwater dropped their prices earlier this year (just before the NAMM show) on Ashdown gear. The price went from $269.99 down to $229.99 and that caught my attention, but I had other priorities. Just about two weeks ago now they dropped the price to 9.99! This is less than the more popular Fender Rumble 10. Both are good amps, but sonic opposites as far as SS 10" bass amps are concerned. The Rumbles are mid scooped, while the Studios are much more mid forward, more rock sounding.

Studio 8 (bottom) & Studio 10 (top). Width (approximately 14.5") and height (15" approx.) they are the same, but the depth of the Studio 10 is 3" greater (9" vs 12" approx.)
Comparison Studio 8 & Studio 10.JPG

The Fender Rumble 40 is slightly bigger all the way around, but is approximately 0.7lbs lighter. (18lbs vs 18.7lbs)
Comparison Rumble 40 & Studio 10.JPG

The Studio 10 is much deeper sounding, than the modified Studio 8, which sounded really good for an 8" 30 watt class D amp. The S10 also has a five band EQ and Overdrive Level control. I'm still trying to dial it in, but it's much closer sonically to my CTM-30 than the S8 is. I'm liking a little of the OD in the mix, for just a little bite and growl. It's great for the bluesy lightly driven tones, for rock, classic to modern and modern country.

The S10 is more rock than the R40. The R40 has a little more lows and highs and does clean a little better, mostly due to the mid scoop. The R40 has a four band EQ compared to the five band of the S10. The R40 does have a post EQ DI out and a line in volume. All three have a line in. The R40 has the BRIGHT, CONTOUR and VINTAGE modifier buttons. The S10 has a SHAPE button, which helps accentuate slap playing. (Good thing as I'm just getting started on playing slap. Needs lots of work!) While the S10 does its sounds, the R40 is better suited to old school Blues, country or rock & roll.

This amp won't replace the sweet tones of my CTM-30 or even my MAG300, but it's not the same level or class of amp. It will serve it's intended purpose greatly.
 
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#1,597
tIANcI said:
I was thinking of maybe an ABM 600 EVO IV head with a 1x15 and a 2x10. Then I look at the size of my music room. A mere 12’ x 14’. Okay … a little combo makes more sense.
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I think you did well. I have a RM-300 head and it's really loud. My new to me ABM is 500w (575) and is crazy loud with an efficient cab. I have yet to ever need huge watts. But I have almost always played with reasonable people who weren't in a volume urinating contest. I personally know a guy who plays stadiums and sold out shows around the world in an act every one would know. He plays those stadiums with a 45w head and one cab with two drivers and he can hear his amp. And, they use wedges and no IEMs. It can be done. (No intent whatsoever to diss anyone with huge wattage amps.)
 
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#1,600
Nuage420 said:
I can't even use my ABM 300 in my 21x25 room and opt for the LB30 through 410H cab. And even then it's over kill.
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My RM-300 when used at home while watching TV is as barely on as possible--and all basses in passive input. The ABM is easier to get lower volumes out of. The notches on the output vol on the RM-300 make it more difficult to get low volumes. And it just goes from nothing to significant volume at a steep rate, unlike the AMB.
 
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